This paper proposes that there are a number of historical television dramas which make use of the aesthetics of the Gothic in order to signal their focus on historical traumas which still have contemporary resonance. This is part of a wider use of a Gothic mode in these dramas in presenting and considering these traumas, not just as the individual…[Read more]

Television historical dramas take on a number of different modes, which inflect how they are interpreted. The Gothic mode, signalled in part by aesthetics and a focus on trauma, encourages audiences to engage with the past as a place of horror and darkness. Through intentional anachronism and the presentation of contemporary parallels, these…[Read more]

In 1894, Lord Alfred Douglas referred to homosexuality as “the love that dare not speak its name”, a phrase that describes the unmentionable nature of homosexuality in a period of time when sodomy was illegal. Even in the 21st century, there continues to be something unspeakable and forbidden about homosexuality. This paper equates the uns…[Read more]

The aesthetics of early feature-film scores were shaped by narrational problems introduced by multi-reel features and their longer durations. Using The Patchwork Girl of Oz, I show how stylistic devices like silences and musical pun- ctuation were used to address the coherence and pacing of multi-reel storytelling.

This article details the historical factors that shaped Hollywood’s adoption of magnetic recording during the late 1940s and early 1950s. It draws upon economic theories of technological change, archival correspondence, technical records, analyses of postproduction workflows, and delineations of the structural constraints that limited how the f…[Read more]

This chapter investigates how the introduction of stereo complicated Hollywood’s vococentric practices. It also reveals how sound technicians developed mixing techniques that preserved the salience of dialogue in multi-channel soundscapes. The author refers to such techniques as monocentrism and illustrates monocentric norms by analyzing the c…[Read more]

“The company builds cars and destroys men” was the promotional tagline of one of the posters for “Blue Collar” (1978). Shot in Detroit and Kalamazoo, Michigan, the film stars Richard Pryor, Harvey Keitel, and Yaphet Kotto playing three Detroit auto workers in financial despair who break into and rob the offices of their own union. “Blue Collar”…[Read more]

La producción de los medios de comunicación constituye una expresión de la sociedad que los gesta. Los grupos sociales que intervienen en la producción televisiva actualmente son herederos de la práctica funcionalista y trasmisiva de los medios tradicionales de comunicación (prensa plana, radio y televisión). En esa lógica los temas que se represe…[Read more]

Los textosaudiovisualesdemandan una combinación de actividades entorno a larepresentación ydecodificación. El proceso se encuentra condicionado pordiferentesrolesen los procesos de producción y consumo televisivo. Se plantea como objetivo de la investigación: diseñarun modelo de producción para las comunidades de práctica televis…[Read more]

Guest lecture at the University of Warsaw From Queen Anne to Queen Victoria Reading Group, 11 May 2023.
Historical dramas can be presented in many different ways in film and television, with the mode in which the genre of historical drama is presented influencing how that drama is understood. Thus, the same events portrayed in a comic mode will…[Read more]